Roz's Website

RozWorks.comVisit my website to view journal selections, paintings, and book arts projects. For the most recent information on classes and workshops please click on "Classes" in the categories list of this blog.

Where Is Roz Blogging?

Podcasts with Roz

Danny Gregory and I Discuss Visual JournalingSadly a two part podcast from May 2008 made with Danny Gregory, author of "An Illustrated Life," is not currently available. We talked about journaling, art media, and materials…If this becomes available again in the future I will let you know.

Finding Bits of TimeRicë Freeman-Zachery, author of "Creative Time and Space," talks to me about finding time to be creative. (Taped October 23, 2009.)

Printing

September 08, 2014

Above: Pencil and Aquash Pen on Strathmore 300 Series Lightweight Printmaking Paper. Click on the image to view an enlargement.

At the end of June I received some printmaking paper samples from Strathmore. I don't do a lot of printing any more (once in a while I make some linoleum block or eraser carvings) but I love Strathmore papers and I love using papers for uses they weren't originally intended, so I set about doodling on the papers to see what they would "take."

I grabbed the 300 series first because it was the lightest weight (120g/m2) and I'm always on the lookout for papers that I can bind into useful journals. At this weight it would be foldable and potentially usable for binding.

I've also been looking for papers to sketch on with pencil so I grabbed a pencil first. The paper has a nice, fine tooth that can impart a bit of character to your pencil line yet hold delicate work, so I quite liked it for pencil.

Next I went at it with the Pentel Aquash Brush Pen with Light Black Ink. The brush tip glides nicely on the paper, yet allows for a dry-brush effect if desired because of the slight texture. I layered and layered the strokes of ink during my test and this brush pen's pigmented ink did NOT bleed through the paper. When the paper got totally saturated it did buckle slightly but it kept drying to a reasonable flatness for a lighterweight paper that's had heavy ink put on it.

Left: My gouache test on the Strathmore 300 Series Lightweight Printmaking paper. Click on the image to view an enlargement.

I followed the Aquash Light Black Ink experiment by pulling out the gouache and putting six layers of heavy water and paint on the paper without any gouache seaping through the paper.

My sketch was made with Faber-Castell Pitt Calligraphy Pen and the Pentel Pocket Brush Pen. Neither of those pens bled on this paper when I went immediately to wet washes of gouache.

To my delight there was no seepage of gouache through this paper and despite the heavy water usage the paper puckered a bit in places, but dried very flat. I love it when a paper does that. The paint also seemed to float on the surface of this paper and stay bright and vibrant. I finished the sketch by restating the PPBP on top of the dried gouache.

Left: Pentel Pocket Brush Pen sketch on the 300 series printmaking paper. Click on the image to view an enlargement.

My final experiment on that day was to just sketch with the Pentel Pocket Brush Pen. I'm pleased to say it glided happily over the surface and didn't seep through the paper. It created a crisp, clean line regardless of whether I tried to do hairlines or bold strokes or allowed the brush to create drybrush effects. It was fun to work with the pen on this paper.

The only downside to using the pens in any of these experiments is that they were bold enough that you could see the lines on the reverse side—show through, not bleed or seap through. For some binders who use their journals for visual arts this would be a deal breaker, but for me the show through was really no greater than one of my favorite binding papers Arches Text Wove (Vellin Arches).

There is no unpleasant odor with this paper wet or dry.

Strathmore's documentation calls this a "natural white." Don't worry, it is NOT cream. It truly is a lovely natural white. They also say it is:

ideally suited for relief printing, such as block or linocut, practicing and proofing. Medium-textured surface is soft, durable, and can absorb large amounts of ink. Contains high alpha cellulose wood fiber and is acid free.

I found it to be all those things (except I didn't print on it).

I think printmakers will like this paper. And I think non-printmakers will enjoy using it as a drawing paper, or even a lightweight mixed-media paper. It has possibilities. The 300 series is available in pads from 5 x 7 inches to 18 x 24 inches.

Since it is only available in pads I'm unlikely to bind many books with it. But I could see myself binding some soft-covered books (pamphlets, double pamphlets, and soft-covered sewn-on-the-spine structures) preparatory to running out for a quick trip of sketching, if I found myself without a book and had a pad of this paper on hand.

All three papers in this new line which includes a 400 series and 500 series paper, were developed in collaboration between Strathmore Artist Papers and the University of Wisconsin-Stevens Point. They clearly put their heads together and came up with an interesting and useful paper in the 300 series. I'm looking forward to testing the 400 series and 500 series papers later. And I will report back to you. Those papers are heavier in weight.

Since the time I received my samples I've now seen the paper in all the usual stores so you won't have difficulty finding it. (And yes, this is my disclaimer: I wasn't paid to review this paper or given any suggestions, etc., but I was sent free samples and pretty much everyone knows what I do when I get my hands on a new paper.)

April 28, 2014

Left: A mugshot sketch, which has nothing to do with making a screen print, but actually if I made a transparency of this it might be kind of fun to have it on a T-shirt. Pentel Brush Pen (the fine-tipped, dye based one), on pink stationery. Click on the image to view an enlargement.

In 2009 I walked readers through the conversion of a journal drawing into a screen print. I was using a Gocco Printer. These devices are no longer available, but the steps involved are still similar if you are working with regular silkscreening equipment or if you're using a Yudo (more on that in a moment).

So if you would like to have some fun printing your journal sketches on fabric or paper you might want to look (or look again if you've been reading since 2009) at these posts.

Now if you don't have access to a Thermofax there is still that Yudo I've mentioned. With a Yudo Personal Screen Printer you can print silkscreened shirts or posters at home. It's a bit of an investment at $349.00 for the machine. Look around for deals on eBay. Also look around for the best deals on consumables that you're going to use for making your prints (screens, transparencies, emulsion, t-shirts etc.) (I can tell you that there are inexpensive but nice t-shirts in lots of different colors available at Michaels in adult and children's sizes.)

While contemplating a purchase of this size it's always good to see the item in action. I still haven't purchased one or even used one. There's only so much time in a day! But I was curious to see how people were using the device, and how it actually could be used. I found two videos that might be helpful to you.

This first video walks you through the process of using "cut-out" pieces (like you would make with a die-cutter or one of those scrapbooking machines that cuts shapes). The woman presenting does a nice job of explaining her steps, but please DO NOT DO THIS IN YOUR KITCHEN SINK, I don't care if the manufacturer says it's OK to do that (and I don't know if they have as I haven't read their material) you just need to keep art tasks out of the kitchen. All paints and dyes and emulsions and such should always be kept away from any food preparation areas.

This presenter does however have a very nice squeegeeing technique!

The second how-to video starts in a very annoying fashion with someone singing off key, but that's just the natural exuberance of youth. Ignore that and keep watching. The two young people on this video walk you through using the Yudo using a TRANSPARENCY. Since I work on the computer and don't have one of those die cutter machines this would be the method I'd use. They do some of the steps in a markedly different way from the woman in the first Yudo video I've linked you to (water use in attachment of the emulsion, squeegeeing, etc.), so be sure to watch both videos in case you do experiment and run into problems. Between the two you'll probably get it right—don't however squeegee like this young man shows you. (I also like the tips they gave for ironing, because you can get into some problems there based on past experience I've had with other printing methods.)

It seems to me that there are now small Yudos that are very much like the Gocco; marketed to print "cards" they might be a good way to start your own printing adventure. (I didn't find details on how they worked or the inks they used so you'll have to research that to your own satisfaction; and the link I provided was just to show you the product, I've never purchased from that company.)

If you've been putting off getting a Gelli Arts Printing Plate to make your own lovely monoprints you might want to take the plunge now.

As you'll see if you go to the link the set includes a 6 x 6 inch Gelli Arts Printing Plate, six one-ounce tubes of Golden Open Acrylic paint, a brayer, a contour tool, a stencil, and 12 sheets of paper—Black Canson Mi Teintes, Zerkall Frankfurt Cream, and Thai Mulberry.

All for $39.95.

I've printed using my 8 x 10 inch Gelli Arts Printing Plate on those 3 papers and they are all excellent choices that will give you a chance for easy printing and great results.

I wish they'd had these last year because I put all these things together for a young artist friend as a birthday gift and spent a good deal more.

Now you've got all the ease of giving a gift without the hassles of rounding up the supplies.

If you would like to know more about what I've enjoyed doing with the "Gelli Arts Printing Plate" look for that phrase in my category list in the right hand column. Click on it and you'll find a whole bunch of posts and examples.

For me this set is just another example of why it's so fun to shop at Wet Paint.

I didn't pick up one of these sets today because I'm set up for GAPP printing. But I thought those of you who were still on the fence about this product might like to hear about this set.

While I was at Wet Paint I did pick up another new product: The Hand•book Paper Company's new field watercolor journal. It's an 8 x 8 inch wirebound journal with hard, thick, lovely forest green covers. It's filled with 140 lb. Fluid Hot Press Watercolor paper.

If you search Fluid Hot Press Watercolor paper in this blog's search engine you'll come up with 4 or more posts about it. I used the 8 x 8 inch pads of this paper for my 2013 Minnesota State Fair Journal and it worked out quite well because the paper is so very smooth that sketching on it (I mostly used the Faber-Castell Pitt Artist's Calligraphy Pen) and painting on it went quite well.

For that type of sketching work I'm quite fond of the paper. For full-up, complete coverage, large washes everywhere type of work I don't recommend the paper because it shows a "pattern" with that type of use. Yes hot press paper can show a pattern. You can read about it in my posts, and I even have an image to show you what I mean. But if you're going to make sketches with lots of open area and you aren't into glazing perfectly smooth washes then you might enjoy this paper.

I got the journal because I like the size of the book. It's 24 pages and cost $20.99. It didn't arrive in time for International Fake Journal Month (and as you know if you're following my other blog my 2014 fake journal went in a totally different direction) but I'll have this journal on hand to take to the zoo, or or a short road trip. Since I'm familiar with the paper I'll know the right time to get it out.

(These notesbooks are also available with Fluid 140 lb. Cold Press watercolor paper or with drawing paper, and in different sizes, but I only have eyes for 8 x 8 inches.)

I also picked up some new dip pen nibs. I got the Brause Zeichenfedern Nr. 66 which was labeled "très souple" or highly elastic. And in moments one of the staff and I were taking one out of the box and I was trying it and I can't wait to use it, sumptious lines, exquisite lines. (The box of 3 nibs costs $7. The box is WAY over designed and bulky, but I suppose it ensures that the nibs arrive to the artist in tip top condition. And now I have an overnight suitcase with a clear top for my Barbie Doll—just saying.)

Anyway, that was my big getting out of the house adventure for the day. I met two friends for breakfast at the Buttered Tin (downtown St. Paul—Best God Damn Egg Sandwich is a MUST) and then stopped at WP on the way home. I've been stuck inside for 3 weeks and it was good to get out even for a little while.

Now I have to finish my fake journal page for today! And when I get that done I have to get some ink on one of those Zeichenfedern Nr. 66 nibs! (Ziller Glossy Black Acrylic Ink—I already had that.)

(Disclaimer: I'm not connected to Wet Paint in any way, except I am a really happy customer and I believe it's important that we support our local independent art supply stores so that they can continue to bring us great supplies and provide helpful and knowledgeable staff.)

April 16, 2014

There's still time (through April 19, 2014) to see the lovely prints of Ellen Heck. In particular there is a series of children's portraits based on "Alice in Wonderland" that are delightful, engaging, and thought provoking. She has an eye for a child's form and proportion and indiosyncratic stance.

While you can see the images from this series if you page through the gallery at the Groveland's site, you'll miss the subtle details of Heck's use of woodcut and drypoint. And you'll miss the impact of seeing the Alice series displayed together on a single wall. You really need to get over there and see it.

While you're there enjoy the marvelous, large landscape pastels of Denice Presnell-Weidner. Her impressionistic handling of color helps her pastel paintings leap off the walls with a super reality familiar to anyone who has ever spent anytime walking about in fields with a dog, or spent a day in the country. (The main gallery show also ends on the 19th.)

And if you're a fan of Thomas Paquette there is a new book of his paintings commemorating the 50th anniversary of the wilderness act. A lovely book to take home and savor in your armchair.

March 31, 2014

A friend sent me a link to J.C. Myers' short film "California Sinking" and it's a beautiful short film with some serious news. I suggest you go and watch it today.

Once I had watched it, I loved it so much that I went looking for more from J.C. Myers and found "Horwinski Printing," a profile on a man who runs a letterpress business. It will come as no surprise to anyone who knows me (or has known me since the age of 2) that I really loved this film too. I couldn't find a way to embed it here so you'll need to follow that link as well.

Both of J.C. Myers' films are about 5 minutes long so you can fit them into your morning coffee break, lunch, or evening relaxation.

Other Interesting Documentaries from other FilmmakersIf you are interested in printing methods you might also find "Linotype: The Film" of great interest. It's a different film maker and came out a couple years ago. I wrote about it after seeing it at one of the local colleges, but I can't find my post (I slipped up in the tagging). But you can find out about that film at the link to its trailer. And I have seen the film offered on Netflix or Amazon Prime (sorry I don't remember which because I watched it when I still had Netflix and it could have been on either). It's a lovely film if a bit sad for folks like me.

At the November meeting of the MCBA Visual Journal Collective coordinator Suzanne Hughes led the group in carving from "eraser" type block material to make watercolor prints.

Despite my injured wing I really wanted to participate because we would be making an edition of prints to swap. Since I couln't use my arm to carve I brought a small carving I'd made of Dottie in 2003 (using a drawing made before her death). I stamped it in black ink on the supplied paper at the beginning of the meeting so I would have something to swap. Then I used my abundant free time to take video and photos of the group in action. Alas, I realized towards the end of the evening there was obviously dust on the sensor of my camera and it was ruining my shots. (It's not that obvious in this image because of where it falls but it's really obvious on the video footage.)

(For people who are worried, or who were hoping for a reprieve, I have already purchased a new camera so I can take video of the December Not-So-Blank-Page-Journals—it was cheaper to buy a new camera than have the other repaired.)

Left: Ruth Smith numbers and signs her edition. (We were working on Nideggen Paper which is a light tan with a wavy laid texture.) She's holding back a laugh because her "helpers" were calling out all sorts of numbers as she was trying to sequence her prints. She's a good sport. Click on the image to view an enlargement. (My sensor problems were cropped out of this image.)

A technical break through I was quite excited about: Marcia Micek likes to work in black ink and she inked her chickadee carving with her Pentel Pocket Brush Pen. The ink stayed wet long enough for her to pull great prints. Something to keep in mind. It was a small carving of about 1.5 x 1.5 inches, but I would have bet the ink would have dried almost immediately. In fact I think I might have bet exactly that. I may owe Marsha a nickel. (My betting limit.)

If you don't live in the area and would like more information about eraser carving you can check out my five-part series on eraser carving which starts with this post "How to Make an Eraser Carving—Part 1: Selecting an Image." The other parts run through to February 15, 2009 when part 5 was posted and you can find them by scrolling forward from the first post (using the navigation "last" and "next" above the post), by using this blog's search engine, or by clicking on "Eraser Carving" in the category list in the left column of this blog. (The last option is the easiest as the posts come up as a list and you can simply scroll down to the first post and work back up the list—it's not a huge category as of today. I've provided a link to get you there from this post. Be sure to click the "continue reading lines" in each post. This was early days in my blog when I used this device. These five posts are all lengthy. Also in part 2 of my series I write about Mastercarve blocks. These seem to no longer be available but "Moo Carve Block" seems to be the same stuff and is available through Amazon. I've ordered a piece to check it out.)

October 18, 2013

On Sunday I stepped out of the role of co-ordinator of the MCBA Visual Journaling Collective. It's been five years since I started this group. I've seen it grow into a wonderful collection of journal keepers of all types who share their work and insights.

For the past year Suzanne Hughes has been co-coordinator, helping more and more with all aspects of running this group. My attention needs to be with my family right now and I'm grateful that she has agreed to take on the role of coordinator. I can't thank everyone who's been involved enough for making this one of the most interesting and fun experiences of my life.

I'll still be attending meetings and when Suzanne has to travel I'll be available to run a meeting, so I'm looking forward to still seeing everyone on a regular basis.

I'm particularly excited about Monday's meeting, 7 to 9 p.m., when Briana Goetzen will be coming to demonstrate the Gelli Arts Printing Plate.

I hope you will bookmark that blog and continue to check it for exciting news about the Collective and posts about upcoming posts. If you forget, when you go to this blog's page on the Collective you'll find a link to Suzanne's schedule page announcing the Collective's upcoming meetings.

September 09, 2013

I've got three great books sitting on my table that I want to recommend today, all from different categories: a how-to, a sketchbook facsimile, and a gallery/collection book. All three will provide eye-candy and inspiration and deserve to be savored.

While the title and subtitle of this how to print and design book is cumbersome everything else about it is spot on, to the point information needed to get all those jobs done. The examples of finished pieces are varied and engaging.This is the type of book that gives you working information as well as examples which inspire you to take some action on those projects you've been thinking about but haven't quite got around to. Also there are some gallery sections with pieces from some of my favorite printmakers and graffiti artists.

Godellei is an art professor at Macalester College in St. Paul, MN. An active printmaker who obviously keeps abreast of the trends and tastes in her field. She has molded all elements the title promised into a cohesive and informative whole.

I highly recommend this book for anyone interested in visual arts whether or not they currently make prints or have plans to.

(Disclaimer: I worked with Ruthann on the "Minnesota Journal Project 2000"—for which she created an incredible found paper journal we had to devise an alternate binding method for. I clearly enjoy her creative mind. I purchased this book at Wet Paint, without any contact from her.)

Let's start with the disclaimer on this one. I purchased this book months ago and I keep looking at it over and over, but I have only dipped into the text a little bit. What caught my interest was of course the opportunity to look at more sketches by the legendary Frank Frazetta. If you don't know Frazetta then maybe you've been living on a rock somewhere in space so you'd better catch up. My first exposure to Frazetta was as a cover illustrator for all the sci-fi and fantasy books I'd be searching through to find books for my brother's birthday (this was a difficult process because I could never remember what he had already, and what he hoped to read, despite a constantly updated list). I was easily distracted by covers and Frazetta's painterly style appealed to me, growing up as I did reading reissued copies of childrens' classics with drawings by Arthur Rackham, Howard Pyle, and N.C. Weyth. (And no, the buxom nature of his female characters and various over and undertones are not offputting to me. I grew up living in museums seeing enough naked folks enacting racy Bibical events. Take a look at Gentileschi's Judith Beheading Holofernes for instance. What a person of any age and time creates says something about the person, but also about the society that consumes that creative product. Let the profiling begin!)

In this book there are lots of sketchbook images, unfinished drawings, and drawings partially inked. Frazetta is a master of form and gesture and composition. He used light in service to tell his story, and he understood color. It's fun to have an opportunity to see some of his "traditional" life drawings. I hope to get around to reading the text at some point soon.

Lark has published a number of books in this 500 series, some relating to cups, cabinets, pitchers, prints on clay. They have also published a volume one of handmade books as this book's title implies. This series is deliciously produced in a square format that is easy to hold and flip through, and savor! All the images are large enough to be clear and vibrant and let you get a feeling for the piece displayed.

If you are interested in the current state of book arts you need to look at this volume. If you are a mixed media artist or collage artist this volume contains so much exciting work that you cannot help but be inspired to up your own game. The images in this book will have you thinking about craftsmanship, structure, and content, content, content. Each selection is presented with one or more views and a caption giving details on dimensions and materials used.

This is a truly lovely book which will delight anyone interested in book arts and visual expression. I recommend both this volume and volume one (it's still available).

(Disclaimer: I received an email from the publisher asking if I would like a review copy of this book. Typically I don't accept review copies of books because I don't want to feel beholden and more important, if I don't like something I'm going to say so. But I said yes, knowing that I would love the book, and I could tell you about it. It should be available soon as it has a publication date of September 2013. [A search on their website didn't turn it up on Saturday.] You can find it listed here on Amazon [and no I don't have an Amazon connection].)

On June 26 part of my demo for printing with the Gelli Arts Printing Plate included showing how to overprint on prints you're not too thrilled with. You really can get some interesting layers.

This first image is an example of that over printing. I had some checkerboard stuff and some circle stuff going on in the bottom layers. I put strips of cardstock cut with a decorative scissors on a plate "inked" up with purple and blue paint. And pulled a print.

Then I removed the strips of cardstock and pulled a ghost print, which you see in the second image.

Left: 9 x 12 inch Japanese block printing paper. Ghost print made after the first image print. Click on the image to view an enlargement.

When I've been home printing I've always cleaned the plate after each application of color. I would of course pull as many prints as possible, but then before doing a new design set up I would clean the plate.

Friends have been experimenting with letting paint sit on the plate to build up a patina (the older layers get somewhat reactivated and picked up by the fresh paint you put down). I decided it would be the perfect time to try it during a demo, so that we could all see the results together. In the second image you can clearly see the older paint from earlier prints coming through creating a very interesting texture.

I like both of these prints from the evening very much and hope to use them in my journal or paint on them outside my journal.

I could see artists who do ATCs or make cards having a blast with this printing plate.

July 03, 2013

Left: One of the pages from my 2013 fake journal, which contains a lot of printed bits made using the Gelli Arts Printing Plate. Click on the image to view an enlargement.

My demo last Wednesday at Wet Paint was a ton of fun. I appreciate everyone coming out and being so receptive to this fun art tool.

A couple people had some questions about how I created the pages for my 2013 fake journal—which was what I started using the Gelli Arts Printing Plate (GAPP) for in the first place. The conversations got a little fractured when people started printing their own prints.

I thought I would post another page from that journal and recap the process here—but you can read more about how I tested materials, and how I used the GAPP on the Official International Fake Journal Blog. Just go to the category list on that blog and select "Roz's 2013 Fake Journal." Most of the related posts will come up. Or browse that blog's archives from March 2013 through May. (There are also posts on this blog about my 2013 fake journal which will provide you links to get to those review posts.)

Left: Here's the same image with some callouts that I detail in the following text. Click on the image to view an enlargement.

I explained on Wednesday my working process—I put paint on the plate, clean my brayer in a journal (to use that extra paint to create background texture and color on a page spread), put items on the plate, make a print, remove the items and put them in my journal to get any extra paint off in the journal (essentially using them as "stamps"), put a new sheet of paper on the plate and make a ghost image. Sometimes I pick up the GAPP at this point and use it as a stamp in my journal. (The plate is a little wobbly and slippery when you pick it up and flip it but it can be done. Or if you prefer you can flip the journal you're printing in and mash it down onto the plate—it's harder to control placement, but it gives a fun effect.) Then I clean the plate and start with an new round of colors.

I worked on most of the pages in my fake journal that way, before I ever started journaling in it.

I like backgrounds.

So if you look at the labeled page the following applies:

A: Brayer full of paint was rolled on the page. Also under the blue paint you can see a sort of honeycomb of brown lines. These were the imprint from a stencil that had been on the plate and moved over and stamped into the journal.

B. Bubble wrap that had been pressed into the plate was removed and pressed into the journal.

C. Under the blue here you can still see the original brown line print that was everywhere over the page.

D. Collaged paper scraps—oranged textured paper at the letter. Also below a piece of a technical manual sent to me by someone participating in the interactive portion of my celebration of fake journals this year.

E. Collaged scrap of blue paper that had been printed using the GAPP.

F. Bird sketches made from life (at the aviary of an elder care facility) with BienFang Watercolor brushes on thin Japanese paper. These were sandwiched with the same paper in yellow, and then they were glued to the page.

G. Rubberstamping a line of solid dots with Brilliance rubberstamp ink. Also stamping, deliberately out of register, a series of circles of the same size, in a different ink color. At the bottom of the page you'll also see additional stamping: Numbers and lines, and of course the red dot that appeared on each finished page.

H. Stenciling with Brilliance rubberstamp inks. (That's a portion of an O or U I allowed to bleed off the top of the page.)

That's the order things happened as well. (The red dot going on last.)

Left: Another page spread from my 2013 fake journal using the GAPP to create the page. Behind the man's face you'll see all the same techniques used on this page. In addition he was painted on a piece of lined paper (actually several pieces as this is Piecemeal Style) and you can also see washi tape at the hairline. I used a Sepia Pentel Colorbrush for the face sketch. Click on the image to view an enlargement. (Note: Pentel Colorbrushes are NOT lightfast, if that matters to you, but they are fun to use.)

All of the elements in these pages were built on the prepainted pages. I would work on them well in advance of journaling. Then when it was time to journal on a page I would turn the page and see what was on the page, and respond to in in some way. In this way I got a lot of texture and many layers, but with no "real" outlay of time. If I had sat down to build a page from scratch I would have had drying time for each phase, and glue drying time, and so on. By working constantly ahead in the journal, doing bits and pieces on various pages—all when I had a few moments of spare time—I was able to arrive at a journal page all built up and just ready for my final journaling.

If you read my other blog you'll also see that many times I simply used my sketches, a pile of which I created on a daily basis, as "collage material." The keeper of my fake journal wasn't really interested in creating a journal that explained anything about her life and often the images don't relate to the journaling.

In my regular journals I'm always working ahead in a similar fashion—always prepainting page spreads, pre-gluing collage scraps on to pages. I find that when I get to those pages it provides a great break from the totally blank page I might have just dealt with on a previous spread.

Note: I just thought to make a "Gelli Arts Printing Plate" category in my category list. However I have already written many posts about this "tool." To find the other posts, if this is the first you've come upon on my blog, please use the blog's search engine, or check the category cloud for "Printing" and "Specialty Tools." I doubt I'll remember to go back and retag all the related posts, but will try to put future Gelli Arts Printing Plate posts in its new category. Thanks.